My agent Andrea Somberg is a champ. She’s tough but not terrifying, critical but not brutal, eminently supportive of her little brood of wordsmiths, and consistently responsive to requests–even those that her peers might deem superfluous and time-wasting. Without that final quality, this particular Q&A could not exist.
Below, I give you Andrea’s detailed, candid and thoughtful “Nonfiction Publishing 101″ treatise. I asked her every question I could think of on your behalf–and I’ve already thanked her effusively (though you’re welcome to post further thanks in the comment section). Not only has she shared valuable information, but she’s also proved that there are still some people who do nice things even when there’s nothing in it for them.
Before we start, Andrea’s professional bio:
Previously an agent at Vigliano Associates and the Don Maass Agency, Andrea Somberg joined Harvey Klinger Inc in the spring of 2005. She represents both fiction and nonfiction, including memoir, pop culture, how-to, self-help, humor, interior design, cookbooks, business, and health and fitness. Some recent sales include Devin and Cameron Lazerine’s Rap-Up: The Ultimate Guide to Hip-Hop and R&B (Grand Central, February ‘08), Heather Maclean’s Baby Gear Buying Guide (Rutledge/Nelson, February ‘08), Kyra Sundance’s The Dog Rules (Touchstone/Fireside, spring ‘09), Kent Sayre’s Unstoppable Confidence (McGraw Hill, fc), Marcelle Karp and Pauline Wall’s Knitchicks (F&W, fc) and Eva Nagorski’s The Down and Dirty Dish on Revenge (Thomas Dunne, fall ‘08).
And now…the yummy stuff…
1. How important is it for an aspiring nonfiction author to have previous clips and/or published titles?
I do look to see if a client has published previous clips, in part because it establishes the writer as a professional and an expert in their field, but also because it helps me get a handle on whether an author has some sort of promotional platform. I can’t stress enough how important a promotional platform is for nonfiction writers. If I see that an author is a regular contributor to several magazines, I can then assume that they have relationships with these publications and will be able to parlay it into future promotion.
As for published titles, they can be a good thing, but they can also work against an author. Bookstores decide how many titles to order of a specific book in part based on the author’s previous sales. If those sales are weak, they’ll be less likely to buy as many copies of the author’s next book. Publishers know this, and so one of the first things they turn to when deciding to take on a project is Bookspan.
Authors sometimes come to me with their self-published book, telling me that it’s been carried in major bookstores. Unless that book has sold thousands upon thousands of copies, this will actually work to to the author’s disadvantage–the bookstores now have a record of previous sales and, if sales are low, it will be an automatic strike against them.
That being said, nonfiction can be a bit more forgiving than fiction. If the topic of the book is strong enough, it can sometimes overcome previous poor sales.
2. As an agent, what do you look for in a query/new author?
An engaging narrative voice, a promotional platform, and a book idea that has a strong marketing hook and fulfills a need in the market.
3. What can someone do to impress you right off the bat (in their approach, query, follow-up, etc.)?
Professionalism is always impressive.
4. What mistake would you caution would-be authors against making?
Don’t be rude or obnoxious! It sounds obvious, but you’d be amazed how many people cross the line.
5. What categories are the easiest to break into right now? What are the toughest?
Each category is challenging in its own right. Whatever the subject matter of your book, the two questions you need to ask yourself are:
- Who is my audience? Sometimes a book is too niche for a major publisher (for example, a book aimed at auto mechanics), in which case you’d be better off focusing on smaller, specialty presses.
- Does my book fulfill a need in the market that hasn’t been met by other books out there? There are so many books being published each month, it is not enough for your book to be well-written. It’s got to distinguish itself, either by fulfilling a gap in the market or by having a strong marketing niche. Preferably both.
Memoirs vs. practical nonfiction come with their own separate challenges. For practical nonfiction these days, it is really important to have a promotional platform. Cookbooks, self help/relationship books, interior design, health/fitness, parenting, business–publishers are looking for authors with a national presence. Humor books are a bit of an exception, in that it is possible to place a title without the author having one. Memoirs on the other hand are marketed more like fiction. An engaging story and narrative voice can be more important than platform.
6. What do you feel is the biggest misperception about the publishing industry, and could you clear it up for us?
This is a business. So if an agent or a publisher rejects your book, it’s not necessarily because they don’t like it–it’s because they don’t think they can make money on it. On the other hand, I will sometimes take on a project that I absolutely love, even if I think it will be a tough sale. But these are few and far between. I really have to fall hard for it.
7. A lot of people who aren’t writers feel that it would be either a pivotal career move or a significant personal/career milestone to publish a nonfiction book. Do you honestly think it’s worth the stress, legwork, time and tears?
In terms of a career move, in many situations, yes. Publishing a book can be a great way to expand your brand, and/or to increase your audience/business. In terms of a personal milestone, it can be very fulfilling. But it can also be frustrating. When authors think of publishing a book, they tend to daydream about the bestseller list. The vast majority of books are published, spend a few weeks in bookstores and then are quickly remaindered.
8. How do you feel about e-books or self-publishing houses?
The problem with self-publishing is a lack of distribution. How do you get your books to customers? Some people who self-publish do meet with great success, but it’s rare. Usually the author is on the lecture circuit, gives seminars, is skilled at web marketing, etc. E-books are still in their infancy. It will be interesting to see how that market develops over the next few years. But still, you run into the challenge–how do you make customers aware of your product?
9. What scams should newbie and/or aspiring authors be wary of?
Never pay an agency a “reading fee.” Also, don’t jump at the first agent who wants to sign you. For the most part it’s an unregulated business, so make sure you find out whether the agency is legit or not.
10. Please list three great writers’ conferences open to beginning authors.
Pike’s Peak, Writers League of Texas Conference (in Austin), Surrey Writers Conference. …There are a lot of good ones. One thing to look out for is, check out who the “faculty” will be. Make sure that they handle the type of books you write, and that they’re from legitimate agencies and publishing houses.
11.In your professional opinion, what does the perfect nonfiction query look like?
Short and sweet. I want to know the premise of the book, I want to know your bio, and I want to know what you can do to promote it. It’s sometimes good to include the “overview” as well, so I can get a sense of your narrative voice.
